Eventually, though, the series revealed itself to be a slightly cannier version of the Saw films, playing out fish in-a-barrel antics while touting continuity with an anemic, brittle backbone running through each outing. That dynamic had interesting explorations in the first film-until the whining of Micah and Katie became unbearable-and even more so in the third picture, where the ethnic diversity expanded ever so slightly to adopt the larger spiritual implications of the attacks. The typical horror audience, one far broader in racial demographic than the casts of these movies would suggest, had a new set of marks to observe clueless, spiritually devoid, yuppie WASPS were menaced by dark forces they neither understood nor could control, reduced to cowering victims in the sanctity of their well established, cushy homes. As the series continued, the appeal was revealed to be something else altogether. When the first Paranormal Activity landed, it was assumed that the found footage technique of a gimmicky faux reality was what brought audiences in. This is the fifth installment of a series that ran out of steam one whole film ago, it’s released three days into the new year at the very peak of the January movie dump, the primary advertising technique is that it’s the “Latino” take on the franchise, and against all odds…it’s good. There may indeed be something strange and out-of the-ordinary going on with Paranormal Activity: The Marked Ones, but that oddness isn’t confined to onscreen events.
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